A woman on the run from the mob is reluctantly accepted in a small Colorado town. In exchange, she agrees to work for them. As a search visits the town, she finds out that their support has a price. Yet her dangerous secret is never far away.
Adèle's life is changed when she meets Emma, a young woman with blue hair, who will allow her to discover desire and to assert herself as a woman and as an adult. In front of others, Adèle grows, seeks herself, loses herself, and ultimately finds herself through love and loss.
On the night of her wedding, Justine is struggling to be happy even though it should be the happiest day of her life. It was an extravagant wedding paid for by her sister and brother-in-law who are trying to keep the bride and all the guests in line. Meanwhile, Melancholia, a blue planet, is hurtling towards the Earth. Claire, Justine's sister, is struggling to maintain composure with fear of the impending disaster. Written by
Justine's text about the loneliness and evilness of the Earth, about to be destroyed, refers to Genesis 6:13. If Justine is right, this may explain the scientific implausibilities of Melancholia's movement towards Earth. See more »
When Claire is putting Justine in the bed, Justine is placed in the bed asleep facing away from the door. In the next shot she is facing the door. Then away from the door, and again back to the door. She is asleep the entire time. See more »
Yeah, you're good. You can back up a little more, if you want. I think you need the... I think you need that extra...
I don't think he can hear you.
Sir. Sir, can you hear me up there?
[fiddling with controls]
Do you copy, sailor? He's in a different county, I think that's...
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Lars Von Trier's latest film MELANCHOLIA got the media attention it
needed when Von Trier, in Cannes doing a press conference, stated that
he sympathized with Hitler. Now sure, one can look at this as a smart
way of marketing one's own film, or one can start wondering what kind
of guy Von Trier has become. As a filmmaker he's certainly interesting,
and certainly self-indulging, and as a child of the late Bergman, he
loves dwelling upon women in a somewhat sad state of mind. MELANCHOLIA
is a dark film that doesn't have the explicitness of his controversial
ANTICHRIST, but brings in just the same dark undercurrents of human
beings who's lost their touch with love, compassion, faith and hope,
and so we find them in the land of Trier where things will become
increasingly intense and frightful. The story is told in two parts; in
the first we find the deeply depressed Kirsten Dunst on her wedding
day, which shot and felt much like Vinterberg's Dogme-film 'Festen',
and part two interests Dunst's sister Charlotte Gainsbourg more into
the story along with her husband and son, as staying at a beautiful
mansion in the countryside sees the enormous planet Melancholia headed
for Earth, fearing for all of humanity to end. One can certainly see
this film with two different kind of goggles; Melancholia IS a planet
that's headed for Earth, and it's doomsday - or, one can see the heavy
symbolism of Melancholia as a state of mind, swallowing the family with
its meaninglessness. Director Von Trier keeps most questions open, and
by using some absolutely mesmerizing camera-work the film beholds a
interesting quality and sensibility. Few if any other popular directors
anno 2011 creates stuff the way Von Trier does, and the immense climax
accompanied by Wagner music is sole alone worth the watch. I guess Von
Trier makes personal films, and he claims himself to be the best living
director in the world, and he wants a green card into everyone's lives
and with MELANCHOLIA he again sows some disturbing and heavy-handed
seeds - and if anything, he makes your mind wobble. Must see.
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